What about all the Dutch corners?

Spike and Jet John Choa and Mustafa Shakira look worried about something on board the Bebop.

Everything inside BebopHis world is a little guilty, ethical and … well, you know. With that camera.
Screenshot: Netflix

There are many things it is felt off about live action Cowboy Bebop, a show that dances to the rhythm that is close, but not pretty, the smooth one that shares his core animated inspiration. But one of the strangest moments of bad rhythm is the one that might take you a while to notice: what on earth is his obsession with Dutch corners?

Like Dutch corners in the original Thor, realization BebopThe dominance of the camera’s tilted angle – sometimes subtle, sometimes sharp, and yet present in what may feel like every other camera cut in the Netflix series – can come as something slow, but once you realize you’re looking alone John Cho, Mustafa Shakir and Daniella Pineda at ever-increasing angles for hours, you can’t avoid noticing it every time it happens again. And it happens again a lot. Our lens in the imagination of the series Iconic anime Shinichiro Watanabea is more often than not observed at these oblique angles. The camera rotates through quiet moments, close-ups and shots of movement, moments of action and moments of establishment, constantly titling our perspective.

The image for the article titled Cowboy Bebop’s hunt for visual style is neck pain

Screenshot: Netflix

This is not necessarily always a bad thing. Used effectively, the Dutch angle can evoke a sense of discomfort and discomfort, an extraterrestrial surrealism that can cause tension as much as abstract the reality. But Bebop‘s fascination with the technique means everything from menacing pronunciation Vicious Alexa Hassela to something as simple as an established recording of a jazz performance at Ana’s bar is treated with the same method, ironically leveling the show’s cinematography so that one lively corner is blurred into another. Instead of evoking a sense of cinematic energy (perhaps to make up for its lack elsewhere in Bebop‘s humdrum vibe), one Dutch corner after another, and another, and the other only becomes visually confusing at first, and perhaps insane after you can’t stop noticing it.

However, perhaps most of all, BebopHis love for the Dutch corner nullifies the series’ own search for meaning in its existence: it makes the series look cartoonish in some way. And maybe that was the intention! So that, by putting this abstraction into our minds, on top of all her other visual and thematic references to the source material, we can find ourselves blurring the boundaries between his “I” and original anime, creating an augmented reality that doesn’t seem very real, despite the people of flesh and blood in their world. Not just Netflix Cowboy Bebop a pretty spectacular failure in that regard – if you discard the camera angles that twist the neck, its muted color palette and lighting, and the relatively calm clip of her performances (outside of Pinedine Faye Valentine, injecting every other line with lively, occasional also lively, a stream of curses to give the show the illusion of a pulse) pretty quickly brings her world back from any illusion of “amplified”. Also, in his aspiration to be similar to his source and far enough away from it to have his own visual identity, he completely fails to understand why cinematography and the visual language of anime work in general.

The image for the article titled Cowboy Bebop’s hunt for visual style is neck pain

Screenshot: Sunrise

The original is not just aesthetic Cowboy Bebop he bases his sci-fi world of the near future, a mixture of analog and digital. If nothing else, the anime is inverse to its Netflix counterpart in its approach to cinema. If Netflix BebopThe Dutch a-go-go corner aims to evoke that kind of animated surrealism, anime, especially its film sequel Knockin ‘On Heaven’s Door, goes to great technical length to be framed as if it was recorded as a live show. Her camera is rooted and moves through the world like living, breathing, three-dimensional space, making shots that are incredibly well animated and flowing like a real camera moving in a wheelchair. Cowboy BebopThe future seems lived and real not only through layers of aesthetic dirt, but because its animators and artists treat our lens into that world as real as ours. And by being spartan with how much attention he drew to those endeavors, he makes moments that Bebop he allows himself to be exaggerated – whether in moments of uncertainty or comedy – to stand out more and more sharply and effectively, instead of drowning in attempts to play the same tricks over and over again.

Netflix’s Cowboy Bebop has real struggles in trying to balance the line between wanting to be her own and recreation one of the most beloved anime series of all time, but in her Dutch corners she tries to twist and turn into an illusion of original style, all it does is break our necks.

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Naveen Kumar

Friendly communicator. Music maven. Explorer. Pop culture trailblazer. Social media practitioner.

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